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By Stephen Wigler and Stephen Wigler,SUN MUSIC CRITIC | November 19, 1999
I don't think anyone could have felt comfortable singing or playing at the tempo that Mario Venzago selected for the opening of the "Dies Irae" ("Day of Wrath") movement in the Swiss conductor's performance of Verdi's Requiem Mass last night in Meyerhoff Hall. But this is the music in Verdi's great nonoperatic masterpiece that depicts Judgment Day. That is likely to be a scary time for all of us. One suspects the composer, who surely did not want his listeners to feel comfortable, also did not want the orchestra, the four soloists and the chorus to take what they had to play for granted.
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By Mary Johnson, Special to The Baltimore Sun | March 8, 2012
St. Anne's Church in Annapolis was filled last weekend with the miraculous sound of the Annapolis Chorale Chamber Chorus, joined by the Annapolis Chamber Orchestra and six guest soloists for two great performances of Johann Sebastian Bach's Mass in B-minor. This performance of Bach's medley of masterworks was the first by Live Arts Maryland music director J. Ernest Green and his chorus, lending the added luster reflected by their joint discovery of its musical secrets. Regarded as a supreme achievement by music scholars, Bach's Mass is also an enigma, a Latin work composed by the Protestant "Cantor of Leipzig," and finished in the last year of his life.
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By Tim Smith and Tim Smith,SUN MUSIC CRITIC | April 24, 2001
If Western music had ended with Johann Sebastian Bach's Mass in B minor in 1749, we would still be culturally rich. Hearing this ever-astonishing score, which was given an earnest performance Sunday by the Handel Choir of Baltimore at Goucher College, it's easy to agree with Charles Gounod's summation of the composer: "He has said all there is to say." The entire spectrum of the baroque art - counterpoint, fugue, dancing rhythms - is enshrined in this work, which Bach assembled toward the end of his life out of old and new material.
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By Mary Johnson and Mary Johnson,Special to The Baltimore Sun | November 6, 2008
Music director J. Ernest Green showed marked musical and political courage in presenting the challenging Dona Nobis Pacem, a major choral anthology warning against war written in the 1930s by Ralph Vaughan Williams. This work, not heard previously in this area, and Puccini's rarely performed Messa di Gloria are vastly different gems of the choral repertoire that underscore Green's programming skills. Last Friday and Saturday at Maryland Hall for the Creative Arts, Green conducted the 180-voice Annapolis Chorale, Annapolis Chamber Orchestra and three soloists performing these works, beginning with three marches by Williams before turning to the transcendent Dona Nobis Pacem, written in the English composer's maturity.
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By Mary Johnson and Mary Johnson,Special to The Baltimore Sun | November 6, 2008
Music director J. Ernest Green showed marked musical and political courage in presenting the challenging Dona Nobis Pacem, a major choral anthology warning against war written in the 1930s by Ralph Vaughan Williams. This work, not heard previously in this area, and Puccini's rarely performed Messa di Gloria are vastly different gems of the choral repertoire that underscore Green's programming skills. Last Friday and Saturday at Maryland Hall for the Creative Arts, Green conducted the 180-voice Annapolis Chorale, Annapolis Chamber Orchestra and three soloists performing these works, beginning with three marches by Williams before turning to the transcendent Dona Nobis Pacem, written in the English composer's maturity.
NEWS
By Phil Greenfield and Phil Greenfield,Contributing writer | March 22, 1991
Michael Gilles' play "Kate's Requiem" is a touching, altogether worthwhile piece of theater that has been brought off exceptionally well by the Annapolis Theater Project under the author's direction.Theoverwhelming impression is that this uplifting, poignant look at death and dying is truly a labor of love.The play was composed by Gilles in the aftermath of his mother's death from Crohn's disease, a fate shared by Kate Miller, the dying wife, mother and friend who is the subject of the play.
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By Stephen Wigler and Stephen Wigler,Music Critic | June 11, 1993
Verdi's "Requiem" is one of those works that leaves a listener astonished with the thrust of its imagination, the sheer beauty of its sound and the colossal sweep of its architecture. It's a piece that David Zinman has always done well -- he did it tVerdi's "Requiem" is one of those works that leaves a listener astonished with the thrust of its imagination, the sheer beauty of xTC its sound and the colossal sweep of its architecture. It's a piece that David Zinman has always done well -- he did it twice in his 11-year tenure in Rochester, and he concluded his first season as the Baltimore Symphony's music director with it seven years ago -- and last night in Meyerhoff Hall he did it better than ever in his final program of the 1992-1993 season.
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By Tim Smith and Tim Smith,SUN MUSIC CRITIC | April 5, 2003
If, like me, you've grown a little weary of the Bobby McFerrin act - and judging by the empty seats last night at Meyerhoff Hall, there may be quite a few of you - just get over it. His appearance with the Baltimore Symphony Orchestra and an impressive lineup of vocal forces is well worth catching this weekend. To begin with, the primarily choral program is substantive and filling. And McFerrin has the works by Bach, Barber and Bernstein (a nice new twist on "The Three Bs") in a fairly firm grasp.
NEWS
By Mary Johnson and Mary Johnson,SPECIAL TO THE SUN | October 2, 1997
To launch the Annapolis Chorale's silver anniversary year, music director J. Ernest Green displayed the chorale's components -- the Chamber Orchestra, the Chamber Chorus and the full Chorale, all 150 voices with orchestra -- in a performance last weekendHe added a festive note by bringing back some 20 alumni of the chorale. And to show off the versatility of the chorale, Green chose a well-balanced program of baroque to 20th-century music.A late addition to the program was Gerald Finzi's "My Spirit Sang All Day."
NEWS
By Mary Johnson, Special to The Baltimore Sun | March 8, 2012
St. Anne's Church in Annapolis was filled last weekend with the miraculous sound of the Annapolis Chorale Chamber Chorus, joined by the Annapolis Chamber Orchestra and six guest soloists for two great performances of Johann Sebastian Bach's Mass in B-minor. This performance of Bach's medley of masterworks was the first by Live Arts Maryland music director J. Ernest Green and his chorus, lending the added luster reflected by their joint discovery of its musical secrets. Regarded as a supreme achievement by music scholars, Bach's Mass is also an enigma, a Latin work composed by the Protestant "Cantor of Leipzig," and finished in the last year of his life.
FEATURES
By Tim Smith and Tim Smith,SUN MUSIC CRITIC | April 5, 2003
If, like me, you've grown a little weary of the Bobby McFerrin act - and judging by the empty seats last night at Meyerhoff Hall, there may be quite a few of you - just get over it. His appearance with the Baltimore Symphony Orchestra and an impressive lineup of vocal forces is well worth catching this weekend. To begin with, the primarily choral program is substantive and filling. And McFerrin has the works by Bach, Barber and Bernstein (a nice new twist on "The Three Bs") in a fairly firm grasp.
FEATURES
By Tim Smith and Tim Smith,SUN MUSIC CRITIC | April 24, 2001
If Western music had ended with Johann Sebastian Bach's Mass in B minor in 1749, we would still be culturally rich. Hearing this ever-astonishing score, which was given an earnest performance Sunday by the Handel Choir of Baltimore at Goucher College, it's easy to agree with Charles Gounod's summation of the composer: "He has said all there is to say." The entire spectrum of the baroque art - counterpoint, fugue, dancing rhythms - is enshrined in this work, which Bach assembled toward the end of his life out of old and new material.
FEATURES
By Stephen Wigler and Stephen Wigler,SUN MUSIC CRITIC | November 19, 1999
I don't think anyone could have felt comfortable singing or playing at the tempo that Mario Venzago selected for the opening of the "Dies Irae" ("Day of Wrath") movement in the Swiss conductor's performance of Verdi's Requiem Mass last night in Meyerhoff Hall. But this is the music in Verdi's great nonoperatic masterpiece that depicts Judgment Day. That is likely to be a scary time for all of us. One suspects the composer, who surely did not want his listeners to feel comfortable, also did not want the orchestra, the four soloists and the chorus to take what they had to play for granted.
NEWS
By Mary Johnson and Mary Johnson,SPECIAL TO THE SUN | October 2, 1997
To launch the Annapolis Chorale's silver anniversary year, music director J. Ernest Green displayed the chorale's components -- the Chamber Orchestra, the Chamber Chorus and the full Chorale, all 150 voices with orchestra -- in a performance last weekendHe added a festive note by bringing back some 20 alumni of the chorale. And to show off the versatility of the chorale, Green chose a well-balanced program of baroque to 20th-century music.A late addition to the program was Gerald Finzi's "My Spirit Sang All Day."
ENTERTAINMENT
By Stephen Wigler and Stephen Wigler,Music Critic | June 11, 1993
Verdi's "Requiem" is one of those works that leaves a listener astonished with the thrust of its imagination, the sheer beauty of its sound and the colossal sweep of its architecture. It's a piece that David Zinman has always done well -- he did it tVerdi's "Requiem" is one of those works that leaves a listener astonished with the thrust of its imagination, the sheer beauty of xTC its sound and the colossal sweep of its architecture. It's a piece that David Zinman has always done well -- he did it twice in his 11-year tenure in Rochester, and he concluded his first season as the Baltimore Symphony's music director with it seven years ago -- and last night in Meyerhoff Hall he did it better than ever in his final program of the 1992-1993 season.
NEWS
By Phil Greenfield and Phil Greenfield,Contributing writer | March 22, 1991
Michael Gilles' play "Kate's Requiem" is a touching, altogether worthwhile piece of theater that has been brought off exceptionally well by the Annapolis Theater Project under the author's direction.Theoverwhelming impression is that this uplifting, poignant look at death and dying is truly a labor of love.The play was composed by Gilles in the aftermath of his mother's death from Crohn's disease, a fate shared by Kate Miller, the dying wife, mother and friend who is the subject of the play.
ENTERTAINMENT
By Tim Smith, The Baltimore Sun | December 11, 2013
The Morgan State University Choir, one of Baltimore's most acclaimed cultural organizations, will participate in the memorial service for Nelson Mandela Wednesday morning at Washington National Cathedral. The service will be streamed online free (you just need to register in advance) . During a Prelude that starts at 10 a.m., the choir, directed by Eric Conway, will perform such works as "If I Can Help Somebody" (in an arrangement by the ensemble's late founder, Nathan Carter)
NEWS
November 23, 2012
Holiday concert The Alleluias, an interdenominational Christian choral group, presents the Christmas cantata "Agnus Dei," featuring the music of Michael Smith , at 3 p.m. Dec. 9 at the Conference and Retreat Center of Bon Secours, 1525 Marriottsville Road in Marriottsville. The event is free, but a love offering will be taken. Information: 443-812-1037. 'Charlie Brown' The Glenelg High School drama and special education department's theatrical production takes place at 7 p.m. Thursday-Saturday, Nov. 29-Dec.
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